从"壮美"拯救文人画——李长之《中国画论体系及其批评》的美学策略
Saving Literati Painting from the Sublime:The Aesthetic Strategy in Li Changzhi's Theoretical System of Chinese Painting and Its Criticism
金浪1
作者信息
摘要
《中国画论体系及其批评》是作为批评家李长之旁涉绘画批评的作品,虽独具特色,也饱受争议.在延续陈师曾为文人画辩护思路的基础上,李长之另辟蹊径地引入了他称之为"体系的——哲学的"方法论视野,不仅提出从主观、对象、用具三方面对中国画论加以考察的体系性框架,更推出了以"壮美"范畴来阐发中国画特质的美学进路.尽管同样服膺于康德美学,但与王国维隐然意识到中西绘画差异并以"古雅"范畴对之加以补充不同,李长之更坚定地成为康德美学的拥趸.对"天才"与"笔墨"的缝合,在努力将中国画论纳入西方美学解释范式的同时,也使得这一方法背后的问题得以凸显.
Abstract
Theoretical System of Chinese Painting and Its Criticism,a work by Li Changzhi that engages in painting criticism,is unique and controversial.As a continuation of Chen Shizeng's defense of literati painting,Li Changzhi took a different approach by introducing what he referred to as a"systematic-philosophical"methodology.He not only proposed a systematic framework to examine Chinese painting theory from the perspectives of subjectivity,objects,and tools but also introduced the concept of the sublime to elucidate the characteristics of Chinese painting.Equally convinced by Kant's aesthetics as Wang Guowei,who was vaguely aware of the differences between Chinese and Western paintings and supplemented the latter with the idea of"classical elegance,"Li Changzhi was nevertheless a more devoted follower of Kant.His integration of the"theory of genius"and the"theory of brush and ink"not only strives to incorporate Chinese painting theory into the paradigm of Western aesthetic interpretation but also brings to light the problematics behind this method.
关键词
李长之/文人画/士大夫/壮美/笔墨Key words
Li Changzhi/literati painting/scholar-bureaucrat/sublimity/brush and ink引用本文复制引用
出版年
2024
NETL
NSTL
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